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- “I can't really think of a scene in Birdman of Alcatraz I liked. I like the total effect of the film, but I don't think there was any scene that stands out for me as being extraordinary in any way.” John Frankenheimer in Gerald Pratley's The Cinema of John Frankenheimer (en)
- "Smashing up trains was easy to do. It's every boy's childhood fantasy. There isn't a child who ever owned an electric train, who didn't want to do a wreck with it, putting a car across the track and sending an engine into it. Well of course, we did just that.”—John Frankenheimer in Gerald Pratley's The Cinema of John Frankenheimer . (en)
- “The point I wanted to make [in The Train] was that no work of art is worth a human life. That's what the film is about. I feel that very deeply. But to say that the film is a statement of a theme like that is really being unfair to the film...the lives of people, what they do and how they think, feel and behave, is in itself important...Honesty and reality are reflected in people's attitudes-without individuals having to perform great deeds or being great heroes or villains proclaiming great messages about life...The Train is this kind of movie.”—John Frankenheimer in Gerald Pratley's The Cinema of John Frankenheimer . (en)
- “More and more I think that our society is being manipulated and controlled...the most important aspect is that [in 1962] this country was just recovering from the McCarthy era and nothing had ever been filmed about it. I wanted to do a picture that showed how ludicrous the whole McCarthy far-Right syndrome was and how dangerous the far-Left syndrome is...The Manchurian Candidate dealt with the McCarthy era, the whole idea of fanaticism, the far-Right and the far-Left being really the same thing, and the idiocy of it. I wanted to show that and I think we did.”- John Frankenheimer in Gerald Pratley's The Cinema of John Frankenheimer (en)
- “...There is no such thing as an unpolitical man. You have to take a stand in life. I was very impressed with and devoted to Senator Robert Kennedy. I believe in what he stood for...I arranged, supervised and directed all his television film appearances. I dedicated myself to that in full...his death was an irreplaceable loss...I think he represented everything that was good in this country. And there's been a terrible void since he was killed.” - John Frankenheimer in Gerald Pratley's The Cinema of John Frankenheimer (en)
- I was always a very introverted child, and as far back as seven years old, I recall finding great escape in films ... in all seriousness, I have always been terribly interested in films and it was not something that happened to me later in life. I look back and realize it was the medium I liked most.John Frankenheimer, quoted in The Cinema of John Frankenheimer (en)
- “Television screens, glimpsed throughout Seven Days in May, are one of the most recognisable Frankenheimer trademarks...Frankenheimer became the first filmmaker to acknowledge television's roles in modern society as an intrusion upon privacy and as a tool by which the powerful manipulate others.”—Film critic Stephen Bowie in John Frankenheimer Senses of Cinema (en)
- Television scripts [of the 1950s] exploring problems at the societal level were systematically ignored . Instead, critics complain, too many "golden age" dramas were little more than simplistic morality tales focusing on the everyday problems and conflicts of weak individuals confronted by personal shortcomings such as alcoholism, greed, impotence, and divorce, for example.... [I]t is important to note that the "golden age" coincided with the Cold War era and McCarthyism and that cold-war references, such as avoiding communism and loving America, were frequently incorporated in teleplays of the mid to late 1950s.Anna Everett in "Golden Age" Museum of Broadcast Communications (en)
- “The Fixer investigates the fact that the victory Yakov Bok won was being brought to trial...the Minister of Justice, Count Odoevsky, offers Bok a pardon. And Bok says ‘no’...That, I think, is probably the best scene in the film...The Fixer is about the dignity of a human being who never knew he had this strength in him, and suddenly finds it within him...Bok is not a [literary] man. He's a peasant and you see this great strength developed within him. That's what the film is about. It has nothing to do with the fact that he is a Jew. It could be any man, any time, anywhere...I think this is a very good story to tell.”—John Frankenheimer in Gerald Pratley's The Cinema of John Frankenheimer (en)
- “I'm not saying it's my best film. But it is certainly one of the most satisfactory film I’ve made...to be able to indulge your fantasies with ten-and-a-half million dollars is, I think, marvelous.”—John Frankenheimer on Grand Prix in Gerald Pratley's The Cinema of John Frankenheimer (en)
- “I don't think you can make an anti-war film by killing a lot of people and by showing ‘how horrible war is’ in the last five minutes after you’ve had two hours of fun with machine guns and bombs...I mean, one of the most atrocious war films ever made is The Green Berets . I'm against violence like this...I think it's totally wrong that at the end of it they try to justify all this violence by some pretentious statement. I will not make a film like that. I don't believe in it.”—John Frankenheimer in Gerald Pratley's The Cinema of John Frankenheimer (en)
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